Paul J. Murphy 2016 VFX Showreel from Paul J. Murphy on Vimeo.I am a 3D Modeller and Texture Artist with supervisory experience in films and video games. This is my visual effects modelling and texturing showreel. Please scroll down for stills from my showreel and an explanation of my role on each project.Filmography:

Film: Star Wars: The Force Awakens

Role: Lead Texture Artist

Responsibilities: Maz textures, R2D2 head replacement and set extension modelling.

For Maz, I created all the textures (including Mari lookdev on the goggles) and UVs with the exception of the belt and jewellery, as well as, modelled and sculpted displacement for the boots.I modelled, textured and Mari lookdeved the R2D2 head replacement. For a Star Destroyer set I modelled the window frames and did layout and modelling for the exterior environment.

Film: Paddington

Role: Lead Texture Artist

Responsibilities: Textured bears, clothing, pigeons, props and sets; modelled various props.I painted the textures for Paddington's dufflecoat and hat, as well as finalising his fur and skin textures. I painted the fur textures for Uncle Pastuzo and Aunt Lucy (including her necklace and cane) and textures for various pigeons.As the sole texture artist in London for the last six months of the project, I was responsible for unifying the texture values and the finalising of assets across the project. Additionally, I painted textures for various props and environments.

Film: Jupiter Ascending

Role: Lead Texture Artist

Responsibilities: Supervised texture team. All Greeghan skin and Keeper textures.For the Greeghan character, I created all the skin textures. As the final character design was highly fluid throughout the show, I used a procedural texturing workflow to allow for multiple model iterations. I painted all of the textures on the alien Keepers. This required creating several sub-surface and diffuse layers combined with pore-level detail wrinkle bump maps and surface flaking layers throughout to realise the sickly translucent look of the skin.I supervised the texturing team, whose assets included massive spaceships and environments. This included making reference guides for the assets, assisting with scheduling, and texture and reference archiving when the show was compete.

Working
with another artist, created a series of concept model sculpts in
Mudbox for the giant scorpions. Over a period of several months, we
created new versions each week, incorporating feedback from supervisors
and the director. Once the design was approved, we modelled in Maya and
sculpted in Mudbox the multiple type and variations of each.

Modelled
and UV mapped scorpion palanquins to match the live action plates, and
developed the model look of the rest of the harnesses that extended up
the tail and to the claws.

Assisted with modelling and UV mapping of individual stone pieces of the statues that the scorpion crashes through.

Film: John Carter

Role: Senior Texture Artist and Displacement Sculptor

Responsibilities: Textured and sculpted hero assets and city environments

Textured, sculpted and developed the texture look of the walking city's feet mechanisms. Once the initial concept was approved I created a set of base textures that were used on the rest of the various feet assets. In addition, I textured and sculpted towers, hallways, props and environments.

In conjunction with the texturing, I created detailed sculpts to give the city a worn look. This was done by scraping away hard edges to make the assets look like they came from a harsh environment. Working with the lead modeller, I helped set up the art pipeline for generating vector-displacement maps from Mudbox sculpts.

Modelling, sculpting, some texturing (the left arm/claw) and UVs of the floating, spider-like Alien Commander. Developed the model look of muscle/bone structure and a functional articulation system for the hovering legs.

Modelled, sculpted and UV mapped the organic parts of the Alien Soldier.

Created the model and all textures for the Alien Hovercraft. There was no photo reference so the textures were made from images found online. This asset was supposed to be very dusty and worn-looking, so I painted leaking and dirt wherever two metal or rubber pieces joined and made scratches on the edges of the metal pieces. The dirt, scratches, scorch marks and bullet holes were separate textures to give the lighters flexibility.

Film: World War Z

Role: Lead Modeller

Responsibilities: Character and cloth modelling supervisor

Supervised
the creation of 50 character models (each with 3 levels of detail) to
populate sequences in Philadelphia, New Jersey, Korea and on an aircraft
carrier.
Each character had its own nCloth simmed costume and a range of facial
expressions.

Set standards and guidelines for the external studio creating cloth
assets to be simulated within Cinesite's nCloth pipeline.

Supervised the modelling of 6 bespoke hero digi-doubles meant to intercut with the live-action
actors.

Toward the end of the project shifted focus to cloth texturing and model finalling.

Created about a dozen concept model sculpts in Mudbox of poisonous frogs. Once the design was approved, I modelled, sculpted and textured all of the variations. There was no photo reference so the textures were made from images found online.

Modelled the glass jar geometry to the film plate for the tracking department. Modelled and textured various environment props, included a musket, various bunting and a wagon tracking model.

Each car had different paint, decals and dirt but maintained the same look and texture scale. I created the scraping and scorching damage textures for when the train went over the bridge, as well as the coupling that stretches between the train cars.

On the truss arch bridge, I projected the dirt and rust maps, in addition to painting and projecting leaking and rust streaking below most of the rivets and joint connection points on the bridge.

The textures for the human digital doubles were made using a combination photo reference from the set and online sources.

Created the model, UVs and some of the blendshapes for the Alien Snot Monster. The initial topology was built by drawing curves on a scanned maquette using Cyslice and then detailed and finalized in Maya. I modelled multiple blendshapes for the mouth animation.

I created all the textures for this human digital double using photo reference from the set. The head textures were projected from the modelling reference camera in Maya and cleaned up in Mudbox. The rest of the texture projection was done in Mudbox. For the alien tongue, I textured a blendshape that worked well both extended and retracted.

Modelled and UV mapped Husky and two variations, as well as modelling and texturing the harnesses. The model topology on the Huskies was made to mimic realistic muscle flow to facilitate proper deformation. Modelled and UV mapped a barn owl and a snow goose (cut from film).

Modelled and UV mapped a hero resolution digital double of Sam Elliot using photo reference from the set. Modelled and textured a large group of crowd resolution Gyptian and Children human digital doubles used across multiple scenes.

Title: Generation Kill (HBO mini-series)

Role: 3D Modeller and Texture Artist

Responsibilities: Modelled, UV mapped and textured a range of military vehicles

Modelled and UV mapped Super Cobra Helicopter, Light Armored Vehicle and Amphibious Assault Vehicle using blueprints and photo reference found online. The modelling/UV time allotted to these assets was two weeks.

Textured Marine Humvee and T-55 Soviet tank. The desert camouflage texture for the Humvee was based on photo reference from the set, while the tank's were from on online sources. The texturing time allotted to these assets was two weeks.

Modelled and textured a large set of crowd resolution middle-eastern civilian digital doubles, costumes and animals. Modelled and textured various middle distance to background buildings from the first several city shots.

Film: Beverly Hills Chihuahua

Role: 3D Modeller and Texture Artist

Responsibilities: Modelled and textured heads to match live action plates for talking animals

Modelled three dog heads, keeping the topology unchanged so that they could share blendshapes with the rest of the dogs. The models had to match the live action plates exactly to insure a smooth transition between the CG and live action plates. Created a set of blendshapes for each dog.

Created all the textures for the three dog head assets. There was reference from the set for two of the dogs, but there was none for the third (the German Shepherd shown in my reel); the only reference was a low-res live action plate. For this particular asset I projected the plate from the tracked camera in Maya, then re-graded and pieced together a final texture using the plate, reference from the other dogs and online sources.

Film: The Chronicles of Narnia: The Voyage of the Dawn Treader

Role: Senior Texture Artist

Responsibilities: Textured city environments and terrains

I started this production a few weeks before the ship date; my task was to create multiple dirt and leaking passes for the buildings. The original assets had a generic dirt texture applied uniformly across everything, so I used Mudbox to project leaking and dirt textures at the transitions between the roofs and walls, under the windows, and at all the corner points where dirt would build up. I also repainted the rocky terrain textures in the mid-ground at the base of the buildings.

Title: Star Wars: The Force Unleashed

Role: Senior Artist

Responsibilities: Modelled, sculpted and textured Bull Rancor

Worked as a Senior Artist at Lucasarts for seven years. My experience included both real-time and high-resolution modelling and texturing of characters, creatures, vehicles, buildings, props and environments.

For the Drone there was no photo reference, so the textures were made from images found online. Because in the film this was a new model attack drone, it was to meant to appear relatively clean; most of the dirt and leaking passes are fairly subtle. This shot was added at the end of production, so the texturing time allotted to this asset was one week.

For the Humvee I used the same mud and dirt textures I created for the Generation Kill Humvee, but changed the base color to jungle camouflage using reference found online. The texturing time allotted to this asset was three days.